The man with a “non-specific sadness” is back on stage at Theatre Three, sharing his favorite Tony-award-winning show within a show to the delight of Dallas audiences.

“The Drowsy Chaperone” debuted in 2006 and the show itself is so smart that most productions thrive off of its exaggerated jokes and ability to laugh at the conventions of musical theater.

Theatre Three has smartly cast somewhat local celebrity Rob McCollum in the part of “Man in Chair.” McCollum hosts “Good Morning Texas” and what might at first feel like a publicity stunt on the part of the theater company, begins to look like legitimate casting as the show continues.

“Man in Chair” has to almost be a great number of things, he has to strike the balance between being effeminate and lonely, between being crazy and crotchety and eccentric and quirky.

McCollum comes really close to equilibrium and delivers a pleasing, but not pitch perfect performance.

That seems to be the struggle for the entire cast.

Everyone very nearly embodies their characters, but only a few cast members take their characters as far as they could.

The plot of the show-within-a-show revolves around Janet Van De Graaf (Erica Peterman) and her fiancé Robert Martin (Jeremy Dumont).

She is giving up her career to marry him, an oil tycoon.

Confusion develops when Janet’s manager Feldzieg (James W. Williams) and two gangster/pastry chef brothers attempt to stop the wedding to keep her on the stage.

They are aided by the title character’s the Drowsy Chaperone (Marisa Diotalevi) inability to carry out her job as chaperone when the “king of romance” Adolpho (Brian Hathaway) accidentally woos her.

Diotalevi and Hathaway are the highlight of this show, with their over blown characters and their impeccable comic timing.

Yet Darius Anthony Robinson enters the stage in the final scene with just enough time to steal the show.

In the character of Trix, the aviatrix, Robinson delivers a riotously fun portrayal, with a booming voice, of the pilot who marries all of the couples in the end.

Herein lies the main problem with the show – Robinson is the most clearly heard performer of the show.

Whether it be a budget shortage or denial of their necessity, microphones are nowhere to be seen in this theater, which would be fine if the vocalists could project.

But many of Peterman’s lines are lost and her beautiful voice is difficult to hear over the already low music.

Peterman and Martin also fail to fully embody the exaggerated, vaudeville-esque musical theater. Peterman looks bored in her big number “Show off” and Martin is not exactly the dashing hero previous productions lead the audience to expect, although the man sure can dance.

The saving grace for this show come from the three aforementioned characters, along with Arianna Movassagh’s Kitty, the empty-headed chorus girl who wants to be a leading lady, and Lon D. Barrera’s straight man butler, Underling.

Overall, the show is a lot of fun, but that might have more to do with the quality of the show than the production.

Fortunately for Theatre Three, there are enough good things going on, and between McCollum and the show itself, “The Drowsy Chaperone” should do just fine.

The show runs through Jan. 9 at Theatre Three.

For more information, visit theatre3dallas.com.